Asymmetries explores the capacity of emptiness to produce meaning. Painting is no longer understood as an accumulation of matter but begins to function as an economy of decisions, where each gesture acquires intensity precisely because there is a vast surface that chooses to remain silent. Organic forms do not represent objects; they function as events. They burst forth, condense, and then seem to dissolve within a space that never attempts to become complete. The work suggests that balance is not a geometric condition but a perceptual experience: what appears unbalanced finds stability thanks to the relationship between density and emptiness, between expansion and restraint, between presence and absence.
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